Verse WISCONSIN

Total Page:16

File Type:pdf, Size:1020Kb

Verse WISCONSIN issue 108 www.versewisconsin.org April 2012 Verse WISCONSIN Founded by linda Aschbrenner AS FREE VERSE 1998 VERSE DRAMA VERSE DRAMA VERSE DRAMA PROSE FEATURES DRAMATIC POETRY & FERMAT’S LAST THEOREM “Is a brief, random, one- or two- generation explosion of verse plays BY AMIT MAJMUDAR impossible? The visual fixation of modern audiences—audience implies OUR EXPANDING DRAMAVERSE audition, hearing; perhaps we should call BY WENDY VARDAMAN & GREER DUBOIS them viewers—makes it unlikely. The technological shift, from nearly bare stage to richly detailed screen, makes it even “Verse drama isn’t just important more unlikely. The emphasis among most because Shakespeare did it. Poetry is poets on “lyric” poetry doesn’t help.” drama’s native language. Performance is poetry’s native state. Besides our —Amit Majmudar broad and deeply held belief in the VERSE DRAMA power of poetry and drama, singly and VERSE DRAMA in unison, to activate the imagination and to help us to make meaning, a POETRY BY JAMES BABBS ; ALESSANDRA belief also critical to hip hop, there are BAVA ; GUY R. BEINING ; MICHAEL a host of practical, artistic contributions BELONGIE ; CAROL BERG ; STEPHEN BETT that drama can make to poetry.” ; LORNA KNOWLES BLAKE ; CAROLINE —Wendy Vardaman & Greer DuBois COLLINS ; ELIZABETH COOK ; BRUCE DETHLEFSEN ; KARL ELDER ; R. VIRGIL ELLIS ; ANNA M. EVANS ; WILLIAM FORD ; CAROL LYNN GRELLAS ; DAVID GROSS VERSE DRAMAS BY CAROL DORF & ; JERRY HAUSER ; KARLA HUSTON ; ; AUTUMN STEPHENS KEVIN DRZAKOWSKI LAWRENCE KESSENICH ; DON KIMBALL; ; ; AMIT MAJMUDAR CHARLOTTE MICHAEL KRIESEL ; BARBARA LIGHTNER ; MANDEL ANGELA ALAIMO O’DONNELL ; EMILIE LINDEMANN ; SANDY LINDOW ; MONICA RAYMOND ; DAVID YEZZI ; ; JAMES SCANNELL MCCORMICK ; JAMES B. NICOLA ; RON RIEKKI ; JENNA RINDO VERSE DRAMA ; LOU ROACH ; G.A. SAINDON ; TERRY SAVOIE ; ROBERT SCHULER ; JO SIMONS ; THOMAS R. SMITH ; JEANINE STEVENS VERSE DRAMA VERSE ; NANCY TAKACS ; PHILIDRAMA P VENZKE ; VERSE $8 ? Editors’ Notes ? THANKS TO THESE DONORS! This issue of Verse Wisconsin includes a number of drama/poetry crossovers by poets, playwrights, performance artists, and hybrids of those categories. Interesting to note is the fact that most of these UP TO $100 DANIEL BACHHUBER pieces were labeled by their authors, probably to help their readers and audiences identify what they MARY JO BALISTRERI are. Of the poetic dramas featured in the issue, both in print and online, some are in process; some MICHAEL BELONGIE unpublished and, as yet, unstaged; some have been performed but unprinted; some have had a staged B. J. BEST DAVID BLACKEY reading, but not a full staging; some were written to be performed as a dramatic reading; others as a full, EMERY CAMPBELL large-scale production. All, however, were written with the intention of being performed, not only read. KOSROF CHANTIKIAN JANE EWENS RUSSELL GARDNER, JR. Visit the online issue for more, with audio of some of the works in print, plus video of other recent SARAH GILBERT productions and commentary on them: The Latina Monologues, a collaborative effort by Latina poets LUCY ROSE JOHNS MARTHA KAPLAN in Milwaukee and beyond, has gone through several seasons and revisions, and has its roots in poets CLAIRE KEYES theater, the choreopoem, and Spoken Word. Angela Trudell Vásquez discusses her involvement in this JUDY KOLOSSO project online. The Lamentable Tragedie of Scott Walker, a delightfully entertaining, wise, and topical JACKIE LANGETIEG CJ MUCHHALA bit of “Fakespeare” was assembled by its author, Doug Reed (with some liberal borrowings from ANVIL O’MALLEY Shakespeare), and rehearsed in a matter of months, then performed to completely sold-out houses in NANCY PETULLA ESTER PRUDLO two different Madison venues August-September and November, 2011. Another online example of CHARLES RIES poetry drama comes from the unique UW-Madison program, “First Wave,” which provides scholarships LOU ROACH and mentoring to students who work seriously at the craft of Spoken Word and Hip Hop while at the JEAN C. ROSS THOMAS R. SMITH university. Finally, two dance poems—collaborations between Milwaukee poet Susan Firer and different LEN TEWS choreographers—raise the question: do words and movement in front of an audience create a poetry STEVE AND JEAN TOMASKO drama? You will also find our themed section of poems, “Mask and Monlogue,” online. These poems, JOHN WALSER ED WERSTEIN written in various personae, or incorporating speech (both dialogue and monologue), represent other MARILYN WINDAU drama-poetry intersections, and you’ll find further comments by us online regarding this piece of VW $100-499 108. ANONYMOUS CHARLES HUGHES Two prose essays comment further on the idea of verse drama: what it is, why it’s significant, where you TIMOTHY WALSH MARY WEHNER might find it. We leave you to explore the various ways that the verse dramas in this issue use poetry and what kinds of poetry, mixing them sometimes within a drama to create an effect. And we invite you to $500-999 add verse drama, however you define it, to the kinds of submissions Verse Wisconsin will now consider RICHARD ROE on a regular basis. OVER $1000 WISCONSIN FELLOWSHIP OF POETS Thanks to Greer DuBois and Melissa Lindstrum for volunteer proofreading help. Lingering errors are, of course, the responsibility of VW’s editors. Verse wisconsin appears tri-quarterly. Please consider a subscription for Contact us: [email protected]. your local library, high school, senior center, or other institution. Yes! I’d like to: © Verse Wisconsin 2012 Subscribe (4 issues): ($25 regular, or $18 student) School: Give a gift subscription ($25) Make a donation $ Co-Editors Get on the email list for news Advertise Review books Sarah Busse Wendy Vardaman Volunteer (e.g., proofreading, mailing, distribution, fundraising, publicity) Advisory Board Name Linda Aschbrenner B. J. Best Address Cathryn Cofell Ron Czerwien City Email Tom Erickson Fabu State Zip Phone David Graham Angela Rydell For Subscription: Renewal New Subscription Gift Subscription Madison, WI. Inc., Printers, by Thysse Printed Marilyn L. Taylor Mail to (checks payable to Verse Wisconsin): Verse wisconsin Begin subscription with: P. O. Box 620216 Current Issue Middleton, WI 53562-0216 Next Issue [email protected] of Member Council of Literary Magazines & Presses 2 Verse wisconsin #108 April 2012 Books Received May-August 2011 Seth Abramson, Northerners, New Issues, Western Michigan U, 2011 Ellen Wade Beals, Ed., Solace, in So Many Words, Weighed Words, 2011 Richard Broderick, Rain Dance, Parallel Press, 2011 Lynn Domina, Framed in Silence, Main Street Rag, 2011 Moira Egan and Clarinda Harriss, Eds., Hot Sonnets, Entasis Press, 2011 Fabu, Journey to Wisconsin: African American Life in Haiku, Parallel Press, 2011 Richard Fein, The Required Accompanying Cover Letter, Parallel Press, 2011 Jessica Goodfellow, The Insomniac’s Weather Report, Three Candles Press, 2011 Shelly L. Hall, Alum, Popcorn Press, 2011 Scott King, Ed., Perfect Dragonfly, A Commonplace Book of Poems Celebrating a Decade & a Half of Printing & Publishing at Red Dragonfly Press, Red Dragonfly Press, 2011 Kim Nelson, Woman’s Evolution, Finishing Line Press, 2011 Thomas R. Smith, Wisconsin Spring, Poems and an Essay, Lost Music Press, 2011 Bianca Spriggs, How Swallowtails Become Dragons, Accents Publishing, 2011 Jeanine Stevens, Caught in Clouds, Finishing Line Press, 2011 Matthew Stolte, D10J11Po (Visual Poetry), eMTeVisPub #5, 2011 Jeanie Tomasko, Sharp as Want, Art by Sharon Auberle, Little Eagle Press, 2011 Marly Youmans, The Throne of Psyche, Mercer University Press, 2011 Submission guidelines can be found at versewisconsin.org. Please send us a review copy of your recently published book or chapbook! Join us on Facebook for announcements & news. Books Reviewed & Noted Online Advertise (Single Issue Rates) Bruce Dethlefsen, Unexpected Shiny Things,Cowfeather Press, 2011, by Julie L. Moore Business card $35 Moira Egan and Clarinda Harriss, Eds., Hot Sonnets, Entasis 1/4 page $75 Press, 2011, by Moira Richards Dave Etter, Dandelions, Red Dragonfly Press, 2010, by Lou 1/2 page $125 Roach Full page $200 Jean Feraca, I Hear Voices, A Memoir of Love, Death, and the Radio, Terrace Books (UW Press), 2011, by Linda Aschbrenner Jessica Goodfellow, The Insomniac’s Weather Report, Three Candles Press, 2011, by Athena Kildegaard MISSION STATEMENT Sarah Gorham, Bad Daughter, Four Way Books, 2011, by Charles Byrne Steve Healey, 10 Mississippi, Coffee House Press, 2010, by Verse Wisconsin publishes poetry and serves the community of poets in Melissa J. Lindstrum Wisconsin and beyond. In fulfilling our mission we: Scott King, Ed., Perfect Dragonfly, A Commonplace Book of Poems Celebrating a Decade & a Half of Printing & • showcase the excellence and diversity of poetry rooted in or related to Wisconsin Publishing at Red Dragonfly Press, Red Dragonfly Press, • connect Wisconsin's poets to each other and to the larger literary world 2011, by Linda Aschbrenner • foster critical conversations about poetry Amit Majmudar, Heaven and Earth, Story Line Press, 2011, by • build and invigorate the audience for poetry Zara Raab Linda Back McKay, The Next Best Thing, Nodin Press, 2011, by Lou Roach Kim Nelson, Woman’s Evolution, Finishing Line Press, 2011, by Zara Raab Margot Peters, Lorine Niedecker, A Poet’s Life, UW Press, Books Received September-December 2011 2011, by Linda Aschbrenner Publisher & author links available online Zara Raab, Swimming the Eel, David Robert Books, 2011, by Athena Kildegaard Edwin Romond,
Recommended publications
  • Identity and Women Poets of the Black Atlantic
    IDENTITY AND WOMEN POETS OF THE BLACK ATLANTIC: MUSICALITY, HISTORY, AND HOME KAREN ELIZABETH CONCANNON SUBMITTED IN ACCORDANCE WITH THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY UNIVERSITY OF LEEDS SCHOOL OF ENGLISH SEPTEMBER 2014 i The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Karen E. Concannon to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs, and Patents Act 1988. © 2014 The University of Leeds and K. E. Concannon ii ACKNOWLEDGEMENTS I am grateful for the wisdom and assistance of Dr Andrew Warnes and Dr John Whale. They saw a potential in me from the start, and it has been with their patience, guidance, and eye-opening suggestions that this project has come to fruition. I thank Dr John McLeod and Dr Sharon Monteith for their close reading and constructive insights into the direction of my research. I am more than appreciative of Jackie Kay, whose generosity of time and spirit transcends the page to interpersonal connection. With this work, I honour Dr Harold Fein, who has always been a champion of my education. I am indebted to Laura Faile, whose loving friendship and joy in the literary arts have been for me a lifelong cornerstone. To Robert, Paula, and David Ohler, in each of my endeavours, I carry the love of our family with me like a ladder, bringing all things into reach.
    [Show full text]
  • Romeo & Juliet
    Romeo & Juliet by William Shakespeare The title page of Romeo & Juliet from the First Folio of Shakespeare’s plays, published in 1623. Handsome bound facsimiles of Romeo & Juliet , published in the Globe Folios series in association with the British Library, are available from the shop, price £9.99. Each volume includes an introduction by the foremost First Folio scholar, Anthony James West. Sources, early Performance and Publication Shakespeare’s principal sources for Romeo & Romeo & Juliet was almost certainly first Juliet were a long narrative poem called The performed by Shakespeare’s company, the Tragicall Historye of Romeus and Juliet by Arthur Chamberlain’s Men, in or around 1596 – a Brooke, first published in 1562 and, to a lesser ‘lyrical’ period of Shakespeare’s writing career degree, the prose romance Rhomeo and Julietta which also includes A Midsummer Night’s Dream, by William Painter. Both sources were based Richard II and many of the Sonnets . No records on a French version of the Italian story Giulietta exist to tell us where it was first seen, but it e Romeo first published in about 1530. Such is likely to have been either the Theatre or the The Curtain Theatre, Shoreditch (to the right), where Italian ‘novelles’ were popular reading in Curtain playhouse in Shoreditch. It has been Romeo & Juliet was probably first performed in or around Shakespeare’s time and Painter’s collection, suggested that Richard Burbage, the company’s 1596. A detail from Abram Booth’s ‘View of London from The Palace of Pleasure , was singled out by the leading man, took the role of Romeo (he would the North’.
    [Show full text]
  • Voices De La Luna a Quarterly Poetry & Arts Magazine
    Voices de la Luna A Quarterly Poetry & Arts Magazine Tuesday 15 December 2009 Volume 2, Number 2 Questions for Bridget Drinka A Tribute to Cynthia Harper “How Shall I Tell You?” by Carmen Tafolla “Are We Friends?” Flash Fiction by Naomi Nye “Aging Gracefully” by Voices Editors Interview with Annie Parker Poetry & Arts Places in San Antonio Letter from the Editors Mo H. Saidi and James Brandenburg When power leads man towards arrogance, poetry reminds him of his limitations. When power nar- We welcome you to the second year and the sixth issue of rows the areas of man’s concern, poetry reminds him Voices de la Luna: A Quarterly Poetry & Arts Magazine. Start- of the richness and diversity of his existence. When ing with the 15 June 2009 issue, our magazine was published in power corrupts, poetry cleanses. For art establishes four formats: webpage, digital reader, eMagazine, and hardcopy. the basic human truth which must serve as the touch- The printed version of the magazine is creating new visibility stone of our judgment. for us with a growing number of paid subscriber-members. The number of copies printed is determined strictly by existing, pre- John F. Kennedy (1917–63), U.S. Democratic politi- paid demand from subscriber-members, contributing editors, cian, president. Last major public address, 26 Oct. board of directors, and advisors. 1963, at dedication of Robert Frost Library, Amherst College. In the early morning hours of Friday 9 October, President Obama was awakened with the news that he had won the Nobel BOTANICAL GARDENS—33 acres of formal gardens, pools, Peace Prize for “extraordinary efforts to strengthen international fountains, and natural areas; Native Texas Area, South Center diplomacy and cooperation between people.” He was only the Periscope.
    [Show full text]
  • Barbarian Masquerade a Reading of the Poetry of Tony Harrison And
    1 Barbarian Masquerade A Reading of the Poetry of Tony Harrison and Simon Armitage Christian James Taylor Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English August 2015 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others This copy has been supplied on the understanding that it is copyright material and that no quotation fro m the thesis may be published without proper acknowledgement The right of Christian James Taylor to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. © 2015 The University of Leeds and Christian James Taylor 3 Acknowledgements The author hereby acknowledges the support and guidance of Dr Fiona Becket and Professor John Whale, without whose candour, humour and patience this thesis would not have been possible. This thesis is d edicat ed to my wife, Emma Louise, and to my child ren, James Byron and Amy Sophia . Additional thanks for a lifetime of love and encouragement go to my mother, Muriel – ‘ never indifferent ’. 4 Abstract This thesis investigates Simon Armitage ’ s claim that his poetry inherits from Tony Harrison ’ s work an interest in the politics o f form and language, and argues that both poets , although rarely compared, produce work which is conceptually and ideologically interrelated : principally by their adoption of a n ‘ un - poetic ’ , deli berately antagonistic language which is used to invade historically validated and culturally prestigious lyric forms as part of a critique of canons of taste and normative concepts of poetic register which I call barbarian masquerade .
    [Show full text]
  • Download Booklet
    ED HUGHES (b.1968): TIME, SPACE AND CHANGE Cuckmere: A Portrait (2016-18) 30:31 1 I. Prelude 2:00 2 II. Autumn 6:30 3 III. Interlude I 1:30 4 IV. Winter 6:30 5 V. Interlude II 1:23 6 VI. Spring 4:58 7 VII. Interlude III 1:27 8 VIII. Summer 6:15 Orchestra of Sound and Light conducted by Ed Hughes 9 Media Vita (1991) 10:34 New Music Players Piano Trio: Susanne Stanzeleit (violin) | Joe Giddey (cello) | Richard Casey (piano) Sinfonia (2018) 30:23 10 I. Agincourt 2:32 11 II. Stella Celi Extirpavit 2:54 12 III. Veni Sancte Spiritus 7:07 13 IV. In iejunio et fletu 6:34 14 V. Silver Swan 4:20 15 VI. In Nomine 6:56 New Music Players conducted by Nicholas Smith Total duration: 71:35 TIME, SPACE AND CHANGE Time, space, change, immutability, the divine and the mortal, the sacred and the profane: these themes and the tensions between them are at the heart of Ed Hughes’ rich and nuanced musical language. All three pieces on this CD – Cuckmere: A Portrait, Media Vita, and Sinfonia – traverse historical and geographical landscapes, exploring the perennial cycles of the natural world and illuminating those elements of the past that have been long obscured by assumed familiarity and the passage of time. As the composer of scores for silent films (by Sergei Eisenstein and Yasujiro Ozu) Hughes is no stranger to the illustrative, but the immediacy in these three works is born of his intense musical curiosity in the complexities and contradictions of human experience and in our place, through time, in the natural world.
    [Show full text]
  • Oral Tradition 20.1
    _____________________________________________________________ Volume 20 March 2005 Number 1 _____________________________________________________________ Editor Managing Editor John Miles Foley Heather Maring Associate Editor Senior Editorial Assistants John Zemke Michael Barnes IT Manager Editorial Assistant Jamie Stephens Andrew Porter Slavica Publishers, Inc. For a complete catalog of books from Slavica, with prices and ordering information, write to: Slavica Publishers, Inc. Indiana University 2611 E. 10th St. Bloomington, IN 47408-2603 www.slavica.com/journals/oraltradition/oraltradition.html ISSN: 0883-5365 Each contribution copyright 2005 by its author. All rights reserved. The editor and the publisher assume no responsibility for statements of fact or opinion by the authors. Oral Tradition (www.oraltradition.org/ot/) seeks to provide a comparative and interdisciplinary focus for studies in oral tradition and related fields by publishing research and scholarship on the creation, transmission, and interpretation of all forms of oral traditional expression. As well as essays treating certifiably oral traditions, OT presents investigations of the relationships between oral and written traditions, as well as brief accounts of important fieldwork, and occasional transcriptions and translations of oral texts. In addition, issues will include the annual Albert Lord and Milman Parry Lecture on Oral Tradition. Submissions should follow the list-of reference format (style sheet available on request) and may be sent via e-mail ([email protected]) or snail-mail; all quotations of primary materials must be made in the original language(s) with following English translations. Most contributions will be reviewed by at least one specialist reader and one member of the editorial board before a final decision is reached. Oral Tradition appears twice per year, in March and October.
    [Show full text]
  • The Sacred, History and Late Modernist Aesthetics in Hart Crane, David Jones and Derek Walcott
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/104944 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Epic Relation: The Sacred, History and Late Modernist Aesthetics in Hart Crane, David Jones and Derek Walcott By Matthew Ivan Rumbold A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick Department of English and Comparative Literary Studies September 2017 CONTENTS Acknowledgements………………………………………………………………………………………………………………1 Declarations…………………………………………………………………………………………………………………………2 Abstract……………………………………………………………………………………………………………………………….4 Introduction: Epic Relation……………………………………………..…………………………………………………………………………5 Chapter One: Twentieth Century Modern Epic: From Negation to Relation……………………………………….…..10 Troublesome Muse: Invocation of the name ‘epic’…………………………………………………………….10 Genre: characteristics of epic and epic as mode…………………………………………………………………28 Modern Epic! Wanted: Dead or Alive! Or ‘Epic is dead, long live epic’………………………………..40 Modern Epic Theories or ‘Why the Epic had to Die’: Hegel, Lukács, Bakhtin……………………….50 Between Negation and Relation:
    [Show full text]
  • Full Cast Announced for Babette's Feast at Print Room at the Coronet
    FULL CAST ANNOUNCED FOR BABETTE’S FEAST AT PRINT ROOM AT THE CORONET • Joseph Marcell, Sheila Atim, Diana Quick and Marjorie Yates lead the cast • Further cast: Norma Attalah, Amanda Boxer, Richard Clews, Henry Everett, Whoopie Van Raam, Rachel Winters • Bill Buckhurst directs this new adaptation of Karen Blixen’s novella, 30 years on from the release of the Oscar-winning film The full casting has been announced for Glyn Maxwell’s commissioned adaptation of the much loved short story Babette’s Feast by the revered Danish storyteller Karen Blixen. Bringing their innovative style to Print Room at the Coronet, Bill Buckhurst reunites with designer Simon Kenny, following their hugely successful collaboration on "Sweeney Todd" at Harrington's Pie and Mash Shop. The 2015 production transferred to the West End and is now playing off-Broadway at New York's Barrow Street Theatre. With new music composed by Olly Fox, this world premiere, telling the story of one community’s willingness to accept a stranger in need, begins previews on 9th May. Karen Blixen is widely recognised for the portrayal of her by Meryl Streep in the Academy Award Winning film, Out of Africa, as well Gabriel Axel’s acclaimed screen adaptation of Babette’s Feast, which celebrates its 30th anniversary this year. Blixen wrote some of Denmark’s most-loved fiction from the 1900’s to her death in 1962, often under pseudonyms, most prolifically as Isak Dinesen who is credited as the author of Babette’s Feast. Glyn Maxwell’s new adaptation will tell the story of Martine and Philippa, two sisters living in a remote coastal village with their father, The Dean.
    [Show full text]
  • The Place for Poetry 2015-Full Programme
    The Place for Poetry Goldsmiths Writers’ Centre Goldsmiths, University of London 7th – 8th May 2015 This dynamic two-day festival will investigate the spaces in which contemporary poetry operates. Through a programme of seminars, readings and academic papers from leading poets and poetic practitioners, we aim to explore the place of, as well as the spaces for poetry in modern life. From war reporting to mappings of migration, from defining individual identity to relating stories of community, contemporary poets take on huge themes. Yet what space does poetry occupy? What tasks can it perform? How is poetry used to negotiate the three-dimensional world? Where do we locate the impulse towards the experiential, the political and the experimental in contemporary poetry? How does poetry accommodate language shifts – especially urban languages? What are the fertile areas for growth and publication in poetry? Table of Contents Programme at a glance .................................................................................................................................... 1 WEDNESDAY 6TH MAY READING: What Do You Mean, “Ocean”? 6.30 p.m. .................................................................................. 2 THURSDAY 7th MAY 1 Panel Session One: 10.30 a.m.-12.00 p.m. ............................................................................................. 2 1.1 Panel Title: Fragment & Process .................................................................................................... 2 1.2 Panel Title: Polyphonies
    [Show full text]
  • Curriculum Vitae
    CURRICULUM VITAE Helen Hennessy Vendler A. Kingsley Porter University Professor Harvard University 12 Quincy Street - Barker Center Room 205 Cambridge, MA 02138 Telephone: (617) 496-6028 Fax: (617) 496-8737 http://scholar.harvard.edu/vendler Home Address: 58 Trowbridge Street Cambridge, MA 02138 Telephone: (617) 547-9197 Education A.B.s.c.l.: Emmanuel College, 1954 (Chemistry) University of Louvain, 1954-55 (French, Italian; Fulbright Fellow) Boston University, 1955-56 (English Literature; Special Student) Ph.D. Harvard University, 1960 (English and American Literature) Honorary Degrees Litt.D. Smith College, 1980 Ph.D. University of Oslo, 1981 Litt.D. Kenyon College, 1982 D.L. University of Hartford, 1985 D.H.L. Union College, l986 D.L. Columbia University, l987 D.L. Marlboro College, 1989 D.H.L. Fitchburg State University, 1990 D.H.L. Washington University, 1991 D.L. Bates College, 1992 D.L. Dartmouth College, 1992 D.H.L. University of Massachusetts-Amherst, 1992 D.L. University of Massachusetts-Boston, 1992 D.L. University of Toronto, 1992 D.L. Trinity College, Dublin, Ireland, 1993 D.L. University of Cambridge, Cambridge, England, 1997 Litt.D. National University of Ireland, 1998 Litt.D. Wabash College, 1998 D.L. University of Massachusetts-Dartmouth, 2000 -1- D.L. Yale University, 2000 D.L. Tufts University, 2001 D.L. University of Aberdeen, 2001 D.L. Amherst College, 2002 D.L. Colby College, 2003 D.L. Bard College, 2005 D.L. Willamette University, 2008 D.L. Queen’s University Belfast, 2010 D.H.L. Brandeis University, 2015 Teaching Full-Time Harvard University, Visiting Professor, 1981-85; Professor, 1985-1990; A.
    [Show full text]
  • Official Programme
    OFFICIAL PROGRAMME 2021 Welcome After the most challenging year in our charity’s history, we still need your support to help us Welcome back! We’re delighted – We’ve three wonderful DELIGHTED – to be able to celebrate the shows for you again this recover. These are the ways to help support the summer in style with you again. Out in year: The Jungle Book which brings family joy, giggles the open, under the Great British skies, future of Storyhouse and bags of heart on its furry with food, drink and great stories, sat sleeve; Pride and Prejudice, together in a circle... where else would packed with dance, music Become a Member you rather be? and the heart-aching search for love and freedom; The best way to support Storyhouse. The Merry Wives of Get discounted tickets for Storyhouse, Grosvenor Park Open Air Theatre Windsor, with its rabble- rousing, raucous, sit-com and Moonlight Flicks as well as Priority Booking and more for just £4 a month, silliness. We’ve the perfect with no ongoing commitment – you can cancel at any time. combination of heart, wit and tomfoolery, which will afford escape and reunion through Gift Membership laughter and song, just when we need it most, just how we Storyhouse Card is the perfect gift for film or theatre lovers and gives them need it most: together. 10% off all tickets, priority access, and no booking fees. Choose a six or 12 month After an often rubbish year, subscription and send to someone you love with a personalised message. it’s a privilege to be back at work, making live theatre Donate with and for you here in Chester, under the wide, Make a one-off donation or become a regular giver and help to Save Storyhouse.
    [Show full text]
  • THE NEW VICTORY® THEATER a Project of the New 42Nd Street, a Nonprofit Organization
    THE NEW VICTORY® THEATER A project of The New 42nd Street, a nonprofit organization NEW VIC BILL 2012-13 SEASON ® KIDS WEEKS Ready to get on your SUMMER feet and try something new? Spend a vacation week (or two!) FUN! with the New Vic! “I’ve gone three times THEATER and I still love it.” July 22 − August 2 – Jackson, age 10 Ages 7−11 • 9am−4pm CIRCUS June 17−21 Ages 7−10 • 9am−4pm Discover new skills, hidden talents Art: T and the thrill of performance! om Slaughte r , Photos: Alexis Buatti–Ramos NewVictory.org 646.223.3010 2 THE NEW 42ND STREET PRESENTS AT THE NEW VICTORY THEATER David Bruce and Glyn Maxwell'S Based on the novel by Philip Pullman CO-produced by The Opera Group and Opera North in association with ROH2 and Watford Palace Theatre CO-commissioned by The Opera Group and ROH2 Orchestra Partner Metropolis Ensemble U.S. PREMIERE MAY 2 - 12, 2013 COMPOSER LIBRETTIST DAVID BRUCE GLYN MAXWELL DIRECTOR CONDUCTOR JOHN FULLJAMES ANDREW CYR PERFORMERS MARY BEVAN, JAMES LAING, AMAR MUCHHALA, WYN PENCARREG, ANDREW SLATER ORCHESTRATION BY METROPOLIS ENSEMBLE DOUG BALLIETT, SARAH BEATY, OWEN DALBY, BRIDGET KIBBEY, DANIELLE KUHLMANN, BRITTON MATTHEWS, LUKE RINDERKNECHT, LANCE SUZUKI, STAS VENGLEVSKI PUPPETRY BY INDEFINITE ARTIclES STEVE TIPLADY & SALLY TODD DESIGNER LIGHTING DESIGNER DICK BIRD GUY HOARE ASSISTANT DIRECTOR CHOREOGRAPHER HANNAH MULDER Victoria Newlyn The New Victory Theater recognizes the generous support of American Express, corporate sponsor of The Firework Maker's Daughter. The New Victory Theater is supported, in part, with public funds from the National Endowment for the Arts; New York State Council on the Arts, a State agency; and from The New York City Department of Cultural Affairs, in partnership with the City Council.
    [Show full text]